Methods and aids in nzusic educationwe recommend that sound should be studied in the most rudimentary
form but that the study should be made as lively as possible.
The development of the capacity for listening to music consists in
a gradual sharpening of the perception of the stream of sound, from
a vague, general impression to a subtle awareness of the slightest in-
flections. This is easily achieved if we keep constantly in mind the
mental sequence to which Mrs. Montessori drew attention and which
is known as ‘Montessori’s three stages’ : presentation, recognition, re-
production (here it is, show me, what is it?).
In the teaching of music, this logical order has seldom been kept
in mind, and the second stage, in particular, has been completely ne-
glected, so that the reproduction stage has become difficult. The re-
cognition of sounds, rhythms and melodic themes is absolutely vital,
as it necessitates the use of memory and comparison, probably lacking
in precision but nevertheless comprehensive. By establishing greater
unity at the outset, it is later possible, even with increasing accuracy
of observation, to achieve a more lively reproduction.
Finally, I would also stress the importance of the mental represen-
tation of sounds, or the ability to ‘hear them in one’s head’. There are
countless simple means of helping children to appreciate the possibility
of ‘hearing in one’s head’ and thereafter of stimulating and intensifying
this inner music, this lively essence of sound, this subtle singing refined
and idealized by its freedom from material ties.
MUSICAL SOUND IS MOVEMENTOne of the very few ideas impressed upon the children is that ‘musical
sound is movement’.
I am not concerned with the question from the purely physical stand-
point, and am therefore not referring to sound vibrations but simply
to a natural and intimate association of musical sound and movement
which, it seems to me, should play a most important part in music edu-
cation. By means of this association, we can build a bridge from the
abstract notion of sound to its graphic representation and, moreover,
shall avoid the danger of thinking of sounds in isolation when all mu-
sical life depends on the moving stream of sound.
Sound becomes music only through modifications in time, and it is
therefore natural to associate with it the idea of movement. Thus, so
far as we are concerned, there is no such thing as a fixed note. A
sustained sound represents a horizontal movement, helping us to